A deconstruction of an individual's story. Back A Public Display of Affection Now on stage in the Studio Theatre at Crow's Theatre, 345 Carlaw Avenue, Toronto Credit: Dahlia Katz Joe Szekeres “A highly engaging story with memories of the unsettling and disturbing. Jonathan Wilson speaks with the audience in a funny, likeable, and big-hearted way. He remains present as that is a present itself.” The world premiere of Jonathan Wilson’s ‘A Public Display of Affection’ is more than just his autobiographical story of a queer youth arriving in the often-unsafe Toronto of the late 1970s and early 1980s. In 1979, when Jonathan arrived in Toronto to start life anew, he did not arrive in the boundaries of Toronto’s Gay Village as it is known today. The boundaries have changed since the late 1970s and early 1980s. Remembering the often-puritanical historical context of that time is vital to understanding Jonathan’s script. Staging this world premiere in the Studio Theatre at Crow’s Theatre is a good choice. The intimacy of the space brings the audience closer to walking figuratively with Jonathan as he reminisces on the changes in his life and the Toronto he once knew. Under Director Mark McGrinder’s steadfast hands and compassionate care for the subject matter, Wilson remains a highly engaging storyteller. He’s funny, likeable, and big-hearted. Shades of Jonathan’s Second City and standup comedy work gloriously shine through. His gentle and tender nature eclipses the sometimes-horrific news emanating from Toronto then. What comes to mind (and Wilson discusses this in the show) is the murder of shoeshine boy Emanuel Jaques, found atop a body rub parlour in the early '80s. Another is the emergence of what was then called Gay Cancer, which we now recognize as AIDS. The talent behind McGrinder’s creative team enhances Wilson’s story visually. Denyse Karn designs a two-level set with multiple angles. As the audience enters, Karn’s neon projections of an urban landscape featuring various towers in the background effectively transport us to the big city. She also selects a range of newspaper clippings and photos documenting significant historical events in Toronto from the 70s and 80s. André du Toit’s lighting sharply spotlights Jonathan as he speaks to the audience. Lyon Smith emphasizes specific sound designs that the audience can hear for auditory effects. The selection of pre-show and exit music from the 70s and 80s is effective. Those of us from that era would be humming along in our heads. Wilson’s script is fascinating, intriguing, unsettling, engaging, and distressing. He effortlessly moves to all sides of the stage to address the audience. He looks at ease doing this. He is not just an actor recounting his life and the events of his youth. He’s gone one step further in this performance. I’m reminded of something once written by Albert Camus: “Don’t walk in front of me. I may not follow. Don’t walk behind me. I may not lead. Walk beside me…just be my friend.” This is exactly what Jonathan achieves and what the audience does. The audience walks beside him the entire time during the performance. He is not harsh about his past experiences growing up in Oshawa and leaving after Grade Nine to start anew in Toronto. His excavation of his life has not hardened him at all. Jonathan exudes a confident and personal dignity throughout these chapters. In a friendly, humorous and enlightening manner, he reminds the audience that being in the present is a present itself. By being present, Wilson wants to leave a legacy of life. He stays grounded while speaking to each of us directly as we figuratively walk beside him through Boys’ Town and the vanishing landmarks of Toronto's Gay District in the 1980s. In a recent interview Wilson held with theatre critic Glenn Sumi, Jonathan stated that the genesis of ‘Public Display’ came from being asked by ACTRA (Alliance of Canadian Cinema, Television and Radio Artists) to speak as a ‘queer elder’ and then theatrically unpacking what that meant and its implications. I’ll admit that when I heard the term ‘queer elder,’ I was puzzled at first. Isn’t labelling wrong? Isn’t elder a stereotype? Aren’t we supposed to recognize the human and the person first and foremost? A bit of research helped clarify. In Indigenous culture, ‘elder’ is highly regarded and respected. Wisdom is accrued through life experience. Wilson’s 80-minute intermission less figurative walk with the audience reveals how he has quietly earned respect without fanfare. At his age, Jonathan desires no further fanfare. He and his partner remain quiet in their twenty-five-year relationship. They’re set in their ways since they’ve been together for a quarter century. They’re comfortable in their skin and who they are. ‘A Public Display of Affection’ is not the loud, boisterous parade at the end of June, which concludes Pride month. The public display is quiet. Giving it away here would spoil its emotional impact, and I don’t want to do that. Allow Jonathan to share that with you on the walk he takes with you. Go and see ‘A Public Display of Affection.” Running time: approximately 80 minutes with no intermission. ‘A Public Display of Affection’ runs until April 20 in the Studio Theatre at Crow’s Theatre, 345 Carlaw Avenue, Toronto. For tickets: crowstheatre.com or call (647) 341-7390 ex. 1010. STUDIO 180 THEATRE PRODUCTION, in association with CROW’S THEATRE, present The WORLD PREMIERE of ‘A PUBLIC DISPLAY OF AFFECTION’ by Jonathan Wilson Director: Mark McGrinder Set and Projection Designer: Denyse Karn Lighting Designer: André du Toit Sound Designer: Lyon Smith Stage Manager: Sandi Becker Performer: Jonathan Wilson Previous Next BACK TO TOP

A one person show with an individual presenter. Solos "As I Must Live It' written and performed by Luke Reece Click Here 'Age is a Feeling' written and performed by Haley McGee Click Here 'Guilt: A Love Story' written and performed by Diane Flacks Click Here 'Hypothetical Baby' written and performed by Rachel Cairns Click Here 'Monster' by Daniel MacIvor Click Here 'No One's Special At the Hot Dog Cart' by Charlie Petch Click Here 'A Christmas Carol' by Charles Dickens Click Here 'Dana H' by Lucas Hnath Click Here 'Here Lies Henry' by Daniel MacIvor Click Here 'Living with Shakespeare' by Jeremy Smith and Steven Gallagher. Presented by Driftwood Theatre Click Here 'My Name is Lucy Barton' adapted by Rona Munro based on the novel by Elizabeth Strout Click Here 'One Step At A Time' by Andrew Prashad Click Here

Welcome to Monthly Reviews All monthly reviews will be placed under this tab. Once a show closes, each review will then be placed into its separate thematic category. March Reviews A Public Display of Affection Click Here Red Click Here Fully Committed Click Here Truck Click Here

Involved in community theatre outside of the Greater Toronto area for over 30 years as an actor and director, Joe now reviews and comments on professional and Equity based theatres throughout Ontario and Montreal. Joe recently left his role as Chief Toronto Critic for OnStage Blog to set off on his own. @szekeresjoe at Twitter/X @OurTheatreVoice on 'X' Meet the Founder Joe Szekeres Involved in community theatre outside of the Greater Toronto area for over 30 years as an actor and director, Joe now reviews and comments on professional theatres throughout Ontario and Montreal. Qualifications : Ontario College of Teachers (retired), Ontario Ministry of Education Additional Qualifications Dramatic Arts Parts 1 and 2 Bachelor of Education (Queen's University) Certificate of Honours Standing and Bachelor of Arts (King's College/University of Western Ontario) English Language and Literature Major/ French Minor Theatre Ontario Workshop : 'Writing Reviews that Matter" with Lynn Slotkin Theatre Ontario Workshop : "Writing Reviews that Matter" with Lynn Slotkin Our Story At Our Theatre Voice, we strive to be of service to write fair, unbiased and impartial reviews and commentaries. By doing this, we hope to encourage audiences to continue attending live theatre, an essential cultural format in community gatherings. Please send an email to us at ourtheatrevoice@gmail.com and we will get back to you in a timely manner. Meet the Original Web Designer Elodie Hraynyk For her work in building OUR THEATRE VOICE website, Elodie Hraynyk received the "Prix d'excellence academique Education cooperative" at her Grade 12 graduation ceremony. Congratulations, Elodie. She is currently updating our website and continues to do so to build OUR THEATRE VOICE's web presence. Elodie will begin her second year of undergraduate studies in Behavioural Science at Durham College. She will remain part of OUR THEATRE VOICE's team. Along with her interest in the theatre and all things arts-related, Elodie continues to make people aware of mental health issues through her own social media accounts. @el_hraynyk on Instagram Business inquiries: elodie.hraynyk@gmail.com Our Values These are our values. Please respect them. Respect ‘Our Theatre Voice’ includes all voices that will be heard and recognized with dignity and respect. Inherent Dignity ‘Our Theatre Voice’ recognizes the uniqueness of all individuals and will continue to reach out for their voice. Integrity ‘Our Theatre Voice’ believes in due diligence and we stand by what we say. Objective ‘Our Theatre Voice’ recognizes the importance of fair, impartial, and unbiased views of live theatrical performances. Meet the Guest Writers “I’ve known Dave Rabjohn and Geoffrey Coulter for over 30 years. Aaron Kropf was part of the Canadian writing team for OnStage Blog. These gentlemen have promised to be impartial, unbiased, and fair as they continue to work with me in sharing our commitment to you, the reader, what's happening on stage in professional theatre on Canada’s east coast, in Toronto, Stratford, London, Gananoque and Montreal.” Contributing writers to OUR THEATRE VOICE: Peter Mazzucco, Louis Train, Olivia Jon Meet Contributing Writer Aaron Kropf Aaron has been a lover of the performing arts from a young age. He attributes that to growing up in Stratford and attending at least one performance at the festival from grade 4. Aaron has been involved with a number of community theatre groups, and worked for some of the largest theatre companies in the country. When not at theatre Aaron enjoys time with his family and living the east coast life. Meet Contributing Writer Dave Rabjohn As a youngster, I went to see a production of 'Who's Afraid of Virginia Woolf' at the old Colonnade Theatre on Bloor St. There were about five people in the audience - probably some special Tuesday matinee. I sat on a bench in the first row, my knobby knees sticking out into the playing area. Martha was literally on one side of my nose and George was on the other side. They were screaming back and forth over my head like I was the tennis net. Boom - fifty years of loving theatre ensued. Meet Contributing Writer Geoffrey Coulter Award-winning actor, director, singer, arts educator, and adjudicator. He is proud to add theatre reviewer to his credentials. Geoff has performed and directed in Canada and the U.S. for over four decades. He has served as an adjudicator for regional play festivals. He has been the artistic director of many youth theatre programs/productions with the hope of inspiring the next generation of artists. Geoff has appeared in theatre, commercials, TV series and feature films, and his voice can be heard narrating documentaries, video games and educational programs. When he’s not in a theatre or recording studio, he’s teaching TV performance at the community college level.

Now on stage in the Studio Theatre at Crow's Theatre, 345 Carlaw Avenue, Toronto Back A Public Display of Affection Now on stage in the Studio Theatre at Crow's Theatre, 345 Carlaw Avenue, Toronto Credit: Dahlia Katz Joe Szekeres “A highly engaging story with memories of the unsettling and disturbing. Jonathan Wilson speaks with the audience in a funny, likeable, and big-hearted way. He remains present as that is a present itself.” The world premiere of Jonathan Wilson’s ‘A Public Display of Affection’ is more than just his autobiographical story of a queer youth arriving in the often-unsafe Toronto of the late 1970s and early 1980s. In 1979, when Jonathan arrived in Toronto to start life anew, he did not arrive in the boundaries of Toronto’s Gay Village as it is known today. The boundaries have changed since the late 1970s and early 1980s. Remembering the often-puritanical historical context of that time is vital to understanding Jonathan’s script. Staging this world premiere in the Studio Theatre at Crow’s Theatre is a good choice. The intimacy of the space brings the audience closer to walking figuratively with Jonathan as he reminisces on the changes in his life and the Toronto he once knew. Under Director Mark McGrinder’s steadfast hands and compassionate care for the subject matter, Wilson remains a highly engaging storyteller. He’s funny, likeable, and big-hearted. Shades of Jonathan’s Second City and standup comedy work gloriously shine through. His gentle and tender nature eclipses the sometimes-horrific news emanating from Toronto then. What comes to mind (and Wilson discusses this in the show) is the murder of shoeshine boy Emanuel Jaques, found atop a body rub parlour in the early '80s. Another is the emergence of what was then called Gay Cancer, which we now recognize as AIDS. The talent behind McGrinder’s creative team enhances Wilson’s story visually. Denyse Karn designs a two-level set with multiple angles. As the audience enters, Karn’s neon projections of an urban landscape featuring various towers in the background effectively transport us to the big city. She also selects a range of newspaper clippings and photos documenting significant historical events in Toronto from the 70s and 80s. André du Toit’s lighting sharply spotlights Jonathan as he speaks to the audience. Lyon Smith emphasizes specific sound designs that the audience can hear for auditory effects. The selection of pre-show and exit music from the 70s and 80s is effective. Those of us from that era would be humming along in our heads. Wilson’s script is fascinating, intriguing, unsettling, engaging, and distressing. He effortlessly moves to all sides of the stage to address the audience. He looks at ease doing this. He is not just an actor recounting his life and the events of his youth. He’s gone one step further in this performance. I’m reminded of something once written by Albert Camus: “Don’t walk in front of me. I may not follow. Don’t walk behind me. I may not lead. Walk beside me…just be my friend.” This is exactly what Jonathan achieves and what the audience does. The audience walks beside him the entire time during the performance. He is not harsh about his past experiences growing up in Oshawa and leaving after Grade Nine to start anew in Toronto. His excavation of his life has not hardened him at all. Jonathan exudes a confident and personal dignity throughout these chapters. In a friendly, humorous and enlightening manner, he reminds the audience that being in the present is a present itself. By being present, Wilson wants to leave a legacy of life. He stays grounded while speaking to each of us directly as we figuratively walk beside him through Boys’ Town and the vanishing landmarks of Toronto's Gay District in the 1980s. In a recent interview Wilson held with theatre critic Glenn Sumi, Jonathan stated that the genesis of ‘Public Display’ came from being asked by ACTRA (Alliance of Canadian Cinema, Television and Radio Artists) to speak as a ‘queer elder’ and then theatrically unpacking what that meant and its implications. I’ll admit that when I heard the term ‘queer elder,’ I was puzzled at first. Isn’t labelling wrong? Isn’t elder a stereotype? Aren’t we supposed to recognize the human and the person first and foremost? A bit of research helped clarify. In Indigenous culture, ‘elder’ is highly regarded and respected. Wisdom is accrued through life experience. Wilson’s 80-minute intermission less figurative walk with the audience reveals how he has quietly earned respect without fanfare. At his age, Jonathan desires no further fanfare. He and his partner remain quiet in their twenty-five-year relationship. They’re set in their ways since they’ve been together for a quarter century. They’re comfortable in their skin and who they are. ‘A Public Display of Affection’ is not the loud, boisterous parade at the end of June, which concludes Pride month. The public display is quiet. Giving it away here would spoil its emotional impact, and I don’t want to do that. Allow Jonathan to share that with you on the walk he takes with you. Go and see ‘A Public Display of Affection.” Running time: approximately 80 minutes with no intermission. ‘A Public Display of Affection’ runs until April 20 in the Studio Theatre at Crow’s Theatre, 345 Carlaw Avenue, Toronto. For tickets: crowstheatre.com or call (647) 341-7390 ex. 1010. STUDIO 180 THEATRE PRODUCTION, in association with CROW’S THEATRE, present The WORLD PREMIERE of ‘A PUBLIC DISPLAY OF AFFECTION’ by Jonathan Wilson Director: Mark McGrinder Set and Projection Designer: Denyse Karn Lighting Designer: André du Toit Sound Designer: Lyon Smith Stage Manager: Sandi Becker Performer: Jonathan Wilson Previous Next

A deconstruction of an individual's story. Back Fully Committed Now on stage at Hamilton's Theatre Aquarius, 190 King William Street. Credit: Dahlia Katz Pictured: Gavin Crawford Joe Szekeres “Directed with comic finesse by Steven Gallagher. Performed with controlled freneticism by Gavin Crawford. ‘Fully Committed’ left me with a big old smile as I left the theatre.” Becky Mode’s ‘Fully Committed’ follows Sam Callahan (Gavin Crawford), an actor whose career is currently sluggish. He’s trying to stay calm about it. He recently auditioned for a play at New York’s Lincoln Center but has not received a call back. Sam feels unsettled because a fellow actor did. On top of this pressure, Sam’s boyfriend moved out of their apartment because the relationship didn’t work out. Christmas is also approaching. Sam’s father has recently become widowed. He calls his son at work to see if he’ll be home for the upcoming holiday. Sam is unsure if he can go home. It appears he is of low seniority on the restaurant pole and may have to work Christmas Eve and Christmas Day. Most New York actors have other day jobs to help pay the rent. Sam’s is working the reservation line for a swanky New York restaurant. Reservations are difficult to make at this restaurant as they often take months. Where does Sam man the reservation line when he’s working? Within the basement of the restaurant building. Michael Gianfrancesco designs a dingy-looking set. At the top of the show, Crawford uses the solid circular staircase leading down to the stage. Stuff is stacked everywhere, from boxes and Christmas lights to messages pasted on the walls. Sam’s desk is downstage at the midpoint where his reservation phone is located. A comfortable, giant, dusty chair is just right from the desk. Steve Lucas’s lighting design skillfully highlights the moments when the audience needs to pay attention to see who is calling on the other end. Verne Good impeccably times the moments in his sound design when Sam answers the phone. There’s a double meaning behind the play’s title. The restaurant term for a full house is ‘fully committed,’ a good sign for any eating establishment. Steven Gallagher directs Becky Mode’s frenetically pulsed script with comic finesse. ‘Fully Committed’ remains a challenge for an actor (and a theatrical treat) since it’s a one-man show. The actor has quite the challenge to ‘fully commit’ to playing over 30 roles of individuals on the other end of the telephone, which reflects the other meaning of the play’s title. These callers are hilariously believable in their desperation to secure a reservation or be seated at the right table to attract the attention of other patrons. The telephone callers include wacky personal celebrity assistants, scheming socialites, name-dropping wannabes, egomaniacal bosses, and megalomaniacal visionaries. The solo actor’s challenge is demonstrating the physicality of all these characters while being aware of when to intensify and ease the pace. Gavin Crawford is ready for the challenge. His Sam is a friendly and likable guy who initially doesn’t want to disrupt the status quo at his job (despite increasing signs that he dislikes it). He often aims to do the right thing, sometimes to the extent of being taken advantage of. Crawford’s facial features terrifically and genuinely convey the various idiosyncrasies of the 30+ characters. He can meld his face and eyes magically large or piercingly small. Crawford’s varied vocal intonations lend credence to these characters. He makes good choices, knowing when to control his pulsating freneticism in his crisscrossing movement to answer various phones across Michael Gianfranesco’s aptly claustrophobic basement. Thankfully, Crawford doesn’t allow the frenzied activity to veer off into stupidity. A minor quibble at this performance. There are moments when the play’s pacing runs at full throttle and becomes sleepily hypnotic to watch. I could feel myself succumbing and had to fight it. Just a slight quibble, but it brought me out of the action momentarily. ‘Fully Committed’ concludes with a stroke of good luck for Sam. Becky Mode’s script is an honourable tribute to the working actor who continues to toil away, striving to pursue a career that means everything to him. In his Director’s Programme Note, Steven Gallagher also comments on that same element. The play transports him back to his own days as a struggling actor in New York, working at the same kind of restaurant as Sam. In this time of societal change in our lives yet again, let’s go pay tribute to the working actor. Go and see ‘Fully Committed.’ Running time: approximately 90 minutes with no interval/intermission. ‘Fully Committed’ runs until April 12 at Theatre Aquarius, 190 King William Street, Hamilton. For tickets, visit theatreaquarius.org or call the Box Office at (905) 522-7529. THEATRE AQUARIUS presents FULLY COMMITTED by Becky Mode Based on characters created by Becky Mode and Mark Setlock Directed by Steven Gallagher Set Design by Michael Gianfrancesco Lighting Design by Steve Lucas Sound Design by Verne Good Performer: Gavin Crawford Previous Next BACK TO TOP

Now on stage at Hamilton's Theatre Aquarius, 190 King William Street Back Fully Committed Now on stage at Hamilton's Theatre Aquarius, 190 King William Street Credit: Dahlia Katz Pictured: Gavin Crawford Joe Szekeres “Directed with comic finesse by Steven Gallagher. Performed with controlled freneticism by Gavin Crawford. ‘Fully Committed’ left me with a big old smile as I left the theatre.” Becky Mode’s ‘Fully Committed’ follows Sam Callahan (Gavin Crawford), an actor whose career is currently sluggish. He’s trying to stay calm about it. He recently auditioned for a play at New York’s Lincoln Center but has not received a call back. Sam feels unsettled because a fellow actor did. On top of this pressure, Sam’s boyfriend moved out of their apartment because the relationship didn’t work out. Christmas is also approaching. Sam’s father has recently become widowed. He calls his son at work to see if he’ll be home for the upcoming holiday. Sam is unsure if he can go home. It appears he is of low seniority on the restaurant pole and may have to work Christmas Eve and Christmas Day. Most New York actors have other day jobs to help pay the rent. Sam’s is working the reservation line for a swanky New York restaurant. Reservations are difficult to make at this restaurant as they often take months. Where does Sam man the reservation line when he’s working? Within the basement of the restaurant building. Michael Gianfrancesco designs a dingy-looking set. At the top of the show, Crawford uses the solid circular staircase leading down to the stage. Stuff is stacked everywhere, from boxes and Christmas lights to messages pasted on the walls. Sam’s desk is downstage at the midpoint where his reservation phone is located. A comfortable, giant, dusty chair is just right from the desk. Steve Lucas’s lighting design skillfully highlights the moments when the audience needs to pay attention to see who is calling on the other end. Verne Good impeccably times the moments in his sound design when Sam answers the phone. There’s a double meaning behind the play’s title. The restaurant term for a full house is ‘fully committed,’ a good sign for any eating establishment. Steven Gallagher directs Becky Mode’s frenetically pulsed script with comic finesse. ‘Fully Committed’ remains a challenge for an actor (and a theatrical treat) since it’s a one-man show. The actor has quite the challenge to ‘fully commit’ to playing over 30 roles of individuals on the other end of the telephone, which reflects the other meaning of the play’s title. These callers are hilariously believable in their desperation to secure a reservation or be seated at the right table to attract the attention of other patrons. The telephone callers include wacky personal celebrity assistants, scheming socialites, name-dropping wannabes, egomaniacal bosses, and megalomaniacal visionaries. The solo actor’s challenge is demonstrating the physicality of all these characters while being aware of when to intensify and ease the pace. Gavin Crawford is ready for the challenge. His Sam is a friendly and likable guy who initially doesn’t want to disrupt the status quo at his job (despite increasing signs that he dislikes it). He often aims to do the right thing, sometimes to the extent of being taken advantage of. Crawford’s facial features terrifically and genuinely convey the various idiosyncrasies of the 30+ characters. He can meld his face and eyes magically large or piercingly small. Crawford’s varied vocal intonations lend credence to these characters. He makes good choices, knowing when to control his pulsating freneticism in his crisscrossing movement to answer various phones across Michael Gianfranesco’s aptly claustrophobic basement. Thankfully, Crawford doesn’t allow the frenzied activity to veer off into stupidity. A minor quibble at this performance. There are moments when the play’s pacing runs at full throttle and becomes sleepily hypnotic to watch. I could feel myself succumbing and had to fight it. Just a slight quibble but it did bring me out of the action momentarily. ‘Fully Committed’ concludes with a stroke of good luck for Sam. Becky Mode’s script is an honourable tribute to the working actor who continues to toil away, striving to pursue a career that means everything to him. In his Director’s Programme Note, Steven Gallagher also comments on that same element. The play transports him back to his own days as a struggling actor in New York, working at the same kind of restaurant as Sam. In this time of societal change in our lives yet again, let’s go pay tribute to the working actor. Go and see ‘Fully Committed.’ Running time: approximately 90 minutes with no interval/intermission. ‘Fully Committed’ runs until April 12 at Theatre Aquarius, 190 King William Street, Hamilton. For tickets, visit theatreaquarius.org or call the Box Office at (905) 522-7529. THEATRE AQUARIUS presents FULLY COMMITTED by Becky Mode Based on characters created by Becky Mode and Mark Setlock Directed by Steven Gallagher Set Design by Michael Gianfrancesco Lighting Design by Steve Lucas Sound Design by Verne Good Performer: Gavin Crawford Previous Next

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